Unit
4
Different Types of Television
Cameras
Structure
4.1
Introduction
Objectives
4.2
Different Types of Cameras
4.3
Features Found on a Camera
4.4 Lens System in Cameras
4.5 Summary
4.6
Glossary
4.7
Terminal Questions
4.8
Answers
4.9
Further Reading
4.1 Introduction
In the previous unit you learnt
about the television studio and its operations. In this unit, you will learn
about the most important equipment of television production – the camera.
A camera is the eye through which
you see the world around you and decide what to capture. In this unit you will
be familiarized with almost all aspects of the camera including the different types
of cameras- studio cameras, camcorders, EFP cameras and even miniature cameras.
You will learn the basics of a camera, the main controls of the equipment,
camera lenses and adjustments to be made while shooting either in a studio or
in the field. In short, the unit will comprehensively educate you about the
camera and camera handling.
Objectives
After going through this unit you should
be able to:
·
Describe the types of cameras used
in TV production
·
Explain the basics of camera and
camera handling
·
Discuss the focal length of a camera
·
Discuss a camera’s controls and the
lens system
4.2 Different Types
of Cameras
While
discussing different types of cameras, one should keep in mind that some camera types
are better suited for studio use, others for the coverage of a downtown fire or
the production of a documentary, and still others for taking along on vacation
to record the more memorable sights. In
accordance with the level of quality and the features each camera provides,
cameras have been classified into three categories:
i
consumer,
ii
prosumer/industrial, and
iii
Professional.
Although
there are still some high-end professional cameras and some
low-resolution/low-feature consumer cameras that are aimed at specific buyers,
the quality of today’s cameras have blurred the lines between these three
categories, sometimes allowing lower-end/lower-cost cameras to be used in
high-end professional productions. Apart from this, there are some more
different styles of cameras which will be taken up here in due course.
I.
Camcorders
The
word camcorders is conjoining of two words – Camera and recorders. Basically
these are smaller cameras meant for the coverage of news. So in a way, it can
be said that these are the main type of cameras that are used for television
production these days. Since it is a competitive world in general and technology
in particular, the prices of these cameras have considerably gone down making
it easy for television channels in the world to go for camcorders for studio as
well as location production. Besides, being smaller in size these cameras
turned out to be convenient and adaptable both and helped organisations cut the
operating costs as compared to many other cameras.
There
are two terms that you should be familiar with. One is ENG which is the
abbreviated from of Electronic News Gathering. The other one is EFP (Electronic
Field Production) New gathering-shooting interviews and breaking news is
usually done with ENG camcorders which are equipped with a microphone and
camera light.
On
the other hand, non-news production like commercials, magazine features,
documentaries and programme inserts is done with EFP cameras.
II.
The All
Purpose Camera
There
are certain type of cameras that have changeable configurations. These are
called all purpose or convertible cameras. For instance, a variety of
attachments like recorders, viewfinders and different type of lenses can be
applied to the camera head of such a camera to cater to a specific requirement
of a particular production.
For
instance:
·
A fixed Studio
camera: In this combo a long lens is used along
with an EFP viewfinder. Since long lens is usually large in size and
considerably heavy, the camera remains unmoved.
·
Handheld
Camera
Certain shots require movement of the
camera. For instance, if the cameraman has to shoot in a confined space where
camera movement become imminent for the sake of variety in shots, this camera
comes handy. It comprises a small eyepiece viewfinder and the EFP/ENG lens.
·
EFP Camera
In electronic field production, normally
more than one camera is used and any camera has to be configured as a part of
multi-camera production. Normally it requires a large view finder and an EFP
lens. It is usually light as compared to the fixed studio camera because the
EFP lens is not as long.
III.
Point-of-View
or Miniature Cameras
These are very small cameras, so small
that they conveniently fit in a travel bag. These are used at places where
bigger cameras are not permitted. So in many cases cameraman poses as tourists
and shoots the location. For example, in India, if you have to take a few shots
of a railway station, you need to deposit a big amount of money with the
railways and then seek the permission. So in such a case, all that a cameraman
does is, take a miniature camera and
starts shooting. Miniature camera does not attract any attention and shooting
is done without any hassle.
Activity
1
Using the Internet or the local library as your resource, read about the
history of the camera and write a short essay based on your research.
Self-Assessment
Questions
1. Fill in the blanks using appropriate words.
(a) ___________ are the main type of
cameras used in television productions today.
(b) The full form of EFP is
______________ .
(c) When
maximum __________ is required, a shoulder-supported hand-held camera can be
used.
(d) _____________ are usually mounted on heavy-duty wheeled pedestals or rolling tripods.
4.3 Features
Found on a Camera
Let us now take a closer look at the various features found on a camera.
They are as follows:
i
The camera’s viewfinder;
ii
The camera’s main controls;
iii
The camera lens and how it
behaves;
iv
The techniques of adjusting
exposure for the best picture quality; and
v
Methods of supporting the
camera.
4.3.1 The Viewfinder
A viewfinder is a part of the camera that enables you to select,
frame, and adjust the shot; to compose the picture; and to assess focus
adjustment. When you are working alone with a portable camera, the viewfinder
will usually be your principal guide to picture quality and exposure. It also
provides you continual reminders about videotaping, the battery’s condition,
and other relevant factors. Most viewfinders traditionally come with a
black-and-white monitor, displaying a high-grade black-and-white image.
However, there are some cameras that have viewfinders with colour screens,
which have a much higher quality.
Some camera systems also show just a little bit more than the
actual shot being transmitted so that the camera operator can see whether there
is anything just outside the frame that might inadvertently come into the
picture. Although the viewfinder shows exactly the same shot area as the
transmitted picture, the camera operator has no warning if an unwanted subject
(a microphone or a bystander) is about to intrude into the shot. Since the
viewfinder is a monitoring device, any adjustments made to its brightness,
contrast, sharpness, or switching will not affect the camera’s video output.
You can also use the viewfinder to display test patterns (example, colour
bars), which allow you to check the camera’s performance.
The viewfinder keeps the camera operator informed about the camera
or recorder’s settings and status. These may include light or audio meters,
shutter speeds, a tally light showing when the camera is recording or ‘on-air’,
zoom lens settings, battery status, and other displays. Various indicators keep
you informed about the camera and recorder’s settings and status. Some monitors
even place a red line around all sharply focused subjects.
Figure
4.1 Viewfinder in a Nikon
Camera
Source: Wikipedia
4.3.2.
The Camera’s Controls
Television cameras have three different categories of controls
which need to be continually readjusted while shooting. The first category is
of course the focus; then comes those occasional adjustments such as
compensating for changing light. The third category of control deals with
aligning the camera’s electronics in order to obtain optimum consistent
performance. Once these controls are set up, they
should not be disturbed or frequently changed.
There
are really two distinct aspects to picture making: camera work and image
quality control. These can be controlled manually, semi-automatically, or even
completely automatically.
Multi-camera shootings
As
you have learnt by now, variety of shots is very important in television
production. It requires proper selection and composition of shot, selective
focus. Zoom and camera movements. So seasoned cameramen go for two types of
camera adjustments in such a situation. They are :
·
Preset
adjustments: when cameraman sets up his camera for the shoot, he adjusts the
camera to ensure optimum image quality. This often includes colour and tonal
balance and adjustment of the aperture. These adjustments are often done
manually or they can be semi-automated or automated in digital equipments.
·
Dynamic
adjustments: When the above mentioned adjustments
are done continually at the time of electronic field production, they are
called dynamic adjustments. Usually the assistants of the cameraman or
assistant cameraman perform these adjustments while cameraman gets time to
concentrate on effective camera work as this ensures consistent high quality
images.
Single Camera Shootings
Cameramen operating single cameras have
not only to get well-composed high quality images but at the same time they are
required to get high quality sound as well. Besides, getting the highest
quality image is only possible when they adjust their camera properly. How do
they do this? Let us find out:
·
The cameraman adjusts the built in
mechanism of the camera in such a way that it adjusts itself as and when
condition changes. This option is useful only when the cameraman is in a hurry
to capture the images. But it has a flaw as cameraman has does not have much of
a quality control. This adjustment does not always provide optimum quality in
every situation.
·
The cameraman previews the scene prior
to shooting and adjusts the control after finding the picture optimum either in
camera’s viewfinder itself or on a monitor.
·
The cameraman keeps on adjusting and
readjusting the camera controls while shooting.
Self-Assessment
Questions
2. Fill in the blanks using appropriate words.
(a) A ___________ is a part
of the camera that enables you to select, frame, and adjust the shot; to
compose the picture; and to assess focus adjustment.
(b) There are really two distinct aspects to picture making: camera
work and ____________ .
(c) Video operators are also known as ___________.
4.4. Lens System in the Cameras
Since lens is the operative part in a camera, let us have a look
at the lens system in cameras.
Prime Lens
Sometimes a cameraman may be in need of a prime or primary lens
for some specific purposes. This type of lens have fixed focal length and their
coverage remains the same throughout the shooting. It does not change at all. Its
coverage can only be changed by adding a supplementary lens.
The focal length of a prime lens is fixed, therefore, it covers
only a specific angle of view. It can be narrow-angle lens or a wide-angle
lens. Prime lenses are available with focal length of a few millimeters to
telephoto lenses of more than 1000 mm focal lengths.
The prime lens is useful:
·
In case of highest optical
quality.
·
In case there is a need to
create a special optical effect like an extremely wide-angle lens
·
In case shooting is to be
done in low-light situations. This type of lens has lower light losses and
therefore they are able to get a quality image in low light.
Zoom Lens
Many
television cameras come with built-in zoom lens system. This system is
considered as a remarkably flexible production tool. The biggest plus point of
this system is that its focal length is adjustable. The cameraman finds it very
easy to alter its coverage of the scene simply by turning a lever. So it hardly
matters whether he is closer or distant from the subject. He can get a quality
image despite being farther from the subject simply by turning the level and
zooming in. The zoom lens in this case behaves like a prime lens of that
particular focal length at any given setting
4.4.1
Lens Controls
Lenses of any system can been controlled through two separate
adjustments that can be either by manual or semi-automatic. They are :
i
Focus—which means adjusting
the distance at which the image is sharpest.
ii
Zoom-- which means altering
the focal length of the lens to adjust the area of the shot’s coverage. This
can be done only when a zoom lens is used.
Generally speaking, depending on how cameraman adjusts the lens
controls, the following will be affected:
·
Sharpness of the detail in
the image is (focusing).
·
How sharply the image is
defined in the shot (depth of field).
·
The appearance of the scene
in the shot (focal length/angle of view).
·
Picture conveying the impression of distance,
space, and size.
·
The overall brightness of
the picture, the clarity of lighter tones and shadows (exposure).
4.4.2
Focal Length
Focal length is the distance between the optical center of the lens
and the image sensor in the camera. This is focused at a great distance such as
infinity. The focal length is simply an optical measurement that is measured in
millimeters (mm). As we have already discussed, the focal length is fixed in a
primary lens while it can be adjusted within limits in a zoom lens.
Several factors are responsible for how much of the scene and
subject the lens shows like the size of
the subject itself, distance of the camera/lens from the subject, the focal length
of the lens being used and the size of the camera’s image sensor.
The specific focal length determines the coverage of a prime lens.
But as we have already discussed, this is different in case of zoom lens as
cameraman has the choice of moving the camera nearer or farther from the
subject since the angle of view (field of view) of a zoom lens varies as its
focal length is altered.
Cameraman’s choice of the focal length simultaneously affects how
much of the scene a shot shows, the perspective comprising apparent
proportions, sizes, and distances of everything in the shot ,how much of the
scene is in focus and camera handling.
Focal
Length and Image Size
Let us take a practical example here:
Suppose a cameraman sets the focal length of his lens at 20 mm
(0.8 in.) and then changes it to 40 mm. As the focal length is altered, the
subject appears to get closer (zoom in). Its image will now be twice as large
on the screen. But now the shot shows less of the scene—only half the previous
overall height and width is shown in the viewfinder.
What
if the cameraman instead reduces the focal length from the 20 mm 10 mm setting?
The subject then would appear further away—only half as big—but the shot would
now cover twice the previous height and width.
A
long focal length lens setting (telephoto lens) covers only a narrow segment of
the scene—however, it shows a correspondingly larger image of the subject. On
the other hand, a short focal length lens (wide-angle lens) gives you a wide
view, but subjects usually appear quite small and far away.
Working Practices
There
are several ways of working out the sort of shot a cameraman will get at
various distances:
·
Trial and
error: In this approach, camera is shifted
around to potential positions and the focal length setting is changed continuously
till the cameraman gets the wanted result. This is usually very tiring because
one has to change the position of a camera which is not always light. This
approach is often a laborious one which becomes cumbersome in summer season.
·
Producer’s
viewfinder: The producer, in this approach, stands
in the planned camera position and checks out the scene through a handheld
portable viewfinder. He tries everything including the focal length and the
required shot size, then reads it out to the cameraman from his viewfinder’s
scale and asks him to set the camera’s lens.
·
Experience:
The cameraman gathers considerable experience to deal with these
things after working regularly in such surroundings as a news studio, He soon
comes to recall various shot sizes with specific camera positions and focal
length settings. So as they say, experience is the best teacher that teaches
its pupils singly.
4.4.3 Lens Angle
A distinct impact on the final image depends a lot on the lens
angles. The lens angles on the basic level have been classified into three
types: normal, telephoto, and wide
angle.
Normal
Lens
A normal lens is as normal as a human eye as it gives a viewpoint that is very close to what is seen by the human
eye. It has a nil or negligible distortion.
Telephoto
Lens
The focal length of a telephoto or narrow-angle lens, is a long one as these lenses have been designed
for that. The subject in these lenses appears closer than normal, but only a
smaller part of the scene is normally visible because depth and distance look
compressed out of proportion in the shot.
Some major advantages have been attributed to the use of telephoto
lens . For instance, It should be used:
·
When cameraman cannot get
the camera near the subject because of obstructions.
·
When the subject is out of
reach.
·
When Cameraman does not have
sufficient time to move the camera closer to the subject.
·
When cameraman has to keep the
camera in fixed position.
·
When cameraman is unable to
move smoothly and unobtrusively
4.4.4 Selecting the Shot
What
is important to know while selecting a camera shot is to know where that shot
is going to end up. For example, if it is just a domestic production, a variety
of shots from extreme long shots to extreme close-ups are appropriate. If the
cameraman is shooting for large video screens positioned near a stage to allow
the viewers to get a better view of the stage action, medium shots and
close-ups are used, as the viewer can already look at the stage and get their
long shot. If the cameraman shoots a small video area for the Internet, the
small viewing screen requires more close-ups, so the viewer can really
understand the nuances of what is going on.
Checking the Shot
After
establishing a shot, a cameraman has to go for a review of the overall scene.
It can be helpful. He will have to:
·
Check for potential problems
such as a light that will come into the shot if he pans right. It will let him
know if someone is going to move into the shot and that he may need to
recompose the picture to include or exclude that person.
·
Check his viewfinder image
to see if something is about to move out of shot, or is going to be partly or
wholly cut off at the end of the view.
·
Check the composition of the
shot (framing, headroom, and so on), subtly correcting for changes that develop
such as people moving to different positions in the shot.
·
Watch for the unexpected,
such as objects “growing out” of subjects. Are microphones, cameras, lamps, or
their shadows appearing in the shot? He can often reframe
the shot slightly to avoid them
4.4.5 Camera
Operation
Focusing
Focusing
is not always as straightforward as it looks. When the subject has well-defined
patterns, it is fairly easy to detect maximum sharpness. However, with less
well-defined subjects, you can rock the focus to either side of optimum, and
somehow, they may still look soft-focused.
The exact point at which you focus can matter. There is usually
more focused depth beyond the actual focused plane than there is in front of
it. Thus, in closer shots, there can be advantages in focusing a little forward
of the true focusing point (nearer the camera) to allow for subject movement.
If you are focused too far back (away from the camera), the problem worsens.
When shooting people, the eyes are a favorite focusing point.
Depth of field continually changes as you focus at different
distances, select different lenses, or zoom in or out. This is something you
quickly become accustomed to, but it cannot be ignored. Focusing is much easier
in longer shots and more complicated with close-up shots. You shoot two people
speaking, yet can get a sharp image of only one of them at a time. In very
large close-ups, focusing can be so critical that only a part of a subject is
sharp, while the rest is completely defocused.
Camera Moves
There are a couple of things that camera operators need to think
about when moving the camera:
·
Always check around you to
make sure that you do not run over cables, bump into the set or props, move in
front of other cameras, or run into people.
·
When part of a multi-camera
production, make sure that you have enough cable by ensuring that you have
sufficient slack before the move begins. Never pull a cable that has a tight
loop in it. Cables can be easily damaged.
Activity 2
Write an essay discussing the features of any five cell phone
cameras.
Self-Assessment
Questions
3. Fill in the blanks using appropriate words.
(a)
__________ lenses have fixed
optics, i.e., their focal length or scene coverage cannot be varied.
(b) The distance between the
optical center of the lens and the image sensor in the camera, when focused at
a great distance such as infinity, is the ___________ of the lens.
(c) A ____________
gives a viewpoint that is
very close to what is seen by the human eye.
(d) A __________ system has the great
advantage that its focal length is adjustable.
(e) In a camera, there is usually more
focused ___________ beyond the actual focused plane than there is in front of
it.
4.5
Summary
Let us recapitulate the important concepts discussed
in this unit:
·
A camera is the eye through which
you see the world around you and decide what to capture.
·
In accordance with the level of quality
and the features each camera provides, cameras have been classified into three
categories:
i
consumer,
ii
prosumer/industrial,
iii
Professional
·
Camcorders are the main type of cameras
used in television productions today.
·
Camcorders are often known
as ENG (electronic news gathering) or EFP (electronic field production)
cameras.
·
Studio productions make use
of a wide range of camera designs, from handheld cameras in a studio
configuration to the large traditional studio cameras.
·
The various features found
on a camera are as follows:
i
The camera’s viewfinder;
ii
The camera’s main controls;
iii The camera lens and how it behaves;
iv The techniques of adjusting exposure for the best
picture quality; and
v
Methods of supporting the
camera.
·
Television cameras have
three different categories of controls which need to be continually readjusted
while shooting.
·
The first category is of
course the focus; then comes those occasional adjustments such as compensating
for changing light. The third category of control deals with aligning the
camera’s electronics in order to obtain optimum consistent performance.
·
Occasionally, for special
purposes, a camera operator may require a prime or primary lens. Prime lenses have fixed optics, i.e., their focal
length or scene coverage cannot be varied.
·
Most lens systems have three
separate adjustments that can be made manually or semi-automatically:
i
Focus—adjusting the distance
at which the image is sharpest.
ii
Zoom (if utilizing a zoom
lens)—altering the lens focal length to adjust how much of the scene the shot
covers.
·
The distance between the
optical center of the lens and the image sensor in the camera, when focused at
a great distance such as infinity, is the focal length of the lens.
·
Lens angles have a distinct
impact on the final image. There are three basic types of angles: normal,
telephoto, and wide angle.
4.6 Glossary
·
Prosumer cameras: Term to describe a camera with
features of professional models that also appeal to the consumer.
·
Handheld Cameras: Hand-held camera or hand-held
shooting is a filmmaking and video production technique in which a camera is
held in the camera operator's hands as opposed to being mounted on a tripod or
other base.
·
Viewfinder:
a device on a camera showing the field of view of the lens, used in framing and
focusing the picture.
·
Focal Length: the distance between the centre
of a lens or curved mirror and its focus.
·
Telephoto Lens: a lens with a
longer focal length than standard, giving a narrow field of view and a
magnified image.
4.7 Terminal Questions
1.
Describe in detail the different types
of cameras that are used in television production.
2.
Explain the reasons why EPF cameras are
different than studio cameras?
3.
How important are lenses in a camera.
How do they contribute to different type of shots? Explain.
4.
Why is the focal length of a lens
important to the image being shot?
5.
Describe the different kind of lenses
and their utility in camera operations.
6.
What kind of controls does a camera
have? Why are these controls needed?
4.8 Answers
Answers to
Self-Assessment Questions
1. (a) Camcorders; (b) Electronic Field Production; (c) mobility; (d) Studio
cameras.
2. (a) viewfinder; (b) image quality control; (c) shaders.
3.
(a)
prime; (b) focal length; (c) normal lens; (d)
zoom lens; (e) depth.
Answers to Terminal
Questions
1.
Refer
to Sections 4.2
2.
Refer
to Section 4.2
3.
Refer
to Section 4.4
4.
Refer
to Section 4.4.2
5.
Refer
to Sections 4.4. and 4.4.1
6.
Refer
to Section 4.3.2
4.9 Further Reading
1. Utterback Andrew. Studio Television
Production and Directing. London: Taylor & Francis, 2007.
2. Donald R. Ralph and Riley Maynard. Fundamentals
of Television Production. Noida: Pearson Education, 2007.
3. Zettl Herbert. Television
Production Handbook. New Delhi: Cengage Learning India, 2011.
4. Mehta Nalin. Television in India:
Satellites, Politics and Cultural Change. London: Routledge, 2008.
5. Millerson Gerald and Jim Owens. Television
Production. London: Taylor & Francis, 2012.
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